The Vaporous Bridge to Stellar Window

SLEEP PARALYSIS, OBE'S AND THE DMT HYPERSPACE

SLEEP PARALYSIS, OBE'S AND THE DMT HYPERSPACE
BY: QUEEN OF FABLES

I have suffered from sleep paralysis for 15 or more years. always upon falling asleep, never upon waking. there's a great article called "The Ominous Numinous: Sensed Presence and 'Other' Hallucinations" by J.Allan Cheyne. Here's the link to the PDF file http://cabinet.auriol.free.fr/Documents/ParalysieSommeil/cheyne.pdf

For years it was horrible, the twisting and shouting and all that escapes the lips is a low moan, the struggle to get that one pinky finger moving, and the painful wrenching of pulling physical movement and feeling back into body. just to slip into its clutches over and over.

I've researched this place, weird black and white realm of strange entities, sometimes visual, the auditory whirling sound that feels like your standing next to a plane firing up in a very tight space and lets not forget the crushing feeling of flipping backwards into space.

then a couple years ago i was researching OBE's and heard mention of people trying to bring on the sleep paralysis state. So the next time i fell into the paralysis (if your mind is awake, then you know when its coming) i seized control, making sure i was flat on my back, and i willed my consciousness out of my body. First i made it an inch, and fell back down, but i kept trying, and each time i got a bit further out of my body until i eventually hit the roof, and of course fell down into body. i eventually "broke thru" the roof where i was able to soar above my building looking down into the other apartments as if the roofs and walls were invisible. It was amazing.

From the research I learned the easiest way to bring on the sleep paralysis state. Upon laying down for bed, get yourself really comfortable, lay face up, arms and legs spread apart nicely. as you are drifting off to sleep your mind will send signals for your body to shift, to slightly reposition itself in some way. Usually when our mind is awake the body will respond immediately. when the signal is ignored the mind figures that we are asleep and kicks into the REM stage where all motor functions are suspended, hence the sleep paralysis state. So all one needs to do is ignore the signal, when you feel like moving, shifting or repositioning just IGNORE it, stay completely still and the effect is immediate. The audio humming will come as well as the vibration of separation from the physical realm. It is all exploration after that point. It may take a bit of practice and taking control as soon as it begins is best or else one can get sidetracked by the things of this in-between realm.

I think that this realm and its entities are part of the DMT hyperspace. Since our pineal gland does produce a small quantity of DMT during REM. I did find another post on the nexus about this https://www.dmt-nexus.com/forum/default.aspx?g=posts&m=85866

Apparent Communication with Discarnate Entities Induced by Dimethyltryptamine by Peter Meyer

by Peter Meyer
from PM&E #5

collected by Thomas Lyttle

1. Tryptamine psychedelics
2. DMT usage
   1. Shamanic usage
   2. Professional and accademic research
   3. Amateur and extra-mural research
3. Dosage and duration of effects
4. Subjective effects of smoking DMT
5. Personal reports
6. Levels of experience
7. Interpretations of the experience
8. DMT and hyperspace
9. The "elves"
10. DMT and the death state
11. Further research needed
12. Bibliography

---

DMT (dimethyltryptamine) is the most powerful and fast-acting of the tryptamine class of hallucinogens. After smoking DMT users regularly report fantastic trips to other dimensions and conversations with intelligent alien life forms. Meyer outlines DMT usage, pharmacology, mythology and occult application, including shamanic uses. He also presents fascinating anecdotal material regarding DMT "alien contact." Materials from DMT researchers Terence McKenna, Gracie and Zarkov, and dozens of other correspondences are included, providing clues to deciphering the DMT "hyperspace" state.

...and in search for answers people have feared to place
themselves on the line and to actually wrestle with life and
death out there in those strange, bardo-like dimensions, not
realizing that there is no other way to win true knowledge...
- - Terence McKenna - - (Psilocybin and the Sands of Time)

CONTINUE READING FULL ARTICLE:
http://www.lycaeum.org/leda/docs/16370.shtml?ID=16370

The Psychedelic Transhumanists | h+ Magazine

The Psychedelic Transhumanists | h+ Magazine

Transhumanism in a fortune cookie: the familiar human world is just one point along a continuum of evolution, and we have an unprecedented capacity to participate in that process. And yet, the future being as slippery as it is, there are as many visions for how this might occur as there are visionaries to guess at it. Computer scientists tend to have one transhumanism; genetic engineers, another. However, coherent themes emerge for those who have taken it upon themselves to make a sweeping survey of human inquiry, integrating a keen reading of the vectors of our technology with postmodern insight into the nature of mind.

Some of these thinkers have been catalyzed by the psychedelic experience — in a way, the most informative window into a world beyond the human that we have yet discovered. They understand the message of psychedelics and the message of technology to converge on the horizon of a deeper reading of reality that recognizes mind and matter as dimensions of the same truth — a truth for which language has ill-prepared us.

FULL ARTICLE : http://www.hplusmagazine.com/articles/enhanced/psychedelic-transhumanists

SPICE LAND

Changa: The Evolution of Ayahuasca

By Chen Cho Dorge

It has been over 53 years since Ayahuasca's introduction to western entheogen enthusiasts, and in that time Ayahuasca has evolved. What began as a synergistic plant combo among specific cultures of the Amazon rain forest has evolved and become something new. The sacred medicine that has historically provided incredible transformations in those who drink it, has itself transformed. It has become Changa.

It has been well over 53 years since Ayahuasca's (also known as cipó, caapi, hoasca, vegetal, daime, oni, yajé, natem, mama, Shori, and aya affectionately by westerners) introduction to western entheogen enthusiasts, and in that time Ayahuasca has evolved. What began as a synergistic plant combo known as Ayahuasca among specific cultures of the Amazon rain forest, has evolved to become something never seen before in the history of entheogens. Ayahuasca has transformed and become something new, radically different from what it once was. The sacred medicine that has historically provided incredible transformations in those who drink it
has itself transformed. It has become Changa.

Changa is quite possibly one of the most amazing innovations in the technology of the sacred in our lifetime. The smoking blend is a combination of banisteriopsis caapi leaves (commonly known as the ayahuasca vine) and a natural extract of DMT. Ayahuasca itself is a tea of B. Caapi vine sections boiled down with perhaps other medicinal or psychoactive admixtures and a DMT, or 5meo-DMT-containing admixture plant, often Psychotria Viridis or Chacruna. Since the advent of western exploration of what has been called the ayahuasca effect or the ayahuasca complex, many new botanicals have been utilized and added to make a powerful brew that creates the ayahuasca effect. The ayahuasca effect is simply the inhibition of enzymes in the body that normally degrade ingested DMT, allowing the DMT to pass though the body altering consciousness without being destroyed by the body's enzymes.

CONTINUE READING: http://www.realitysandwich.com/changa_evolution_ayahuasca

True Hallucinations - Abridged Pt.2

Joe Rogan talks about DMT

Ms. Christine DMT Rose
by Deuce 7

Deuce 7 on Wikipedia

FRACTAL ELVES by QUEEN-OF-FABLES

By:Queen-of-Fables

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FROM WIKIPEDIA: Machine elves (also known as fractal elves, self-transforming machine elves) is a term coined by the ethnobotanist, writer and philosopher Terence McKenna to describe the apparent entities that some people claimed to become aware of after having taken tryptamine based psychedelic drugs, especially DMT.^[1] References to such encounters can be found in many cultures ranging from shamanic traditions of Native Americans to indigenous Australians and African tribes, as well as among Western users of these substances.

By Eyeball32000

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Just a Wee Bit More About DMT by ∞Ayes

Consciousness is very flexible. Like a gas, it will fill any container in the form of that container. It is as ubiquitous as the universe, subsuming and interweaving with the fabric of nothingness, matter, and energy. This fabric is a naturally evolving pattern out of which we and the cosmos are woven. This for me is the level on which DMT functions. We can focus on any part of this pattern, minuscule or cosmic, depending on our orientation, environment, expectations, fears, and if we are dedicated to having a transcendent vision, our intention.

By and large, it strikes me that intention is the basic formative influence on the type of vision one will experience on DMT. Of all the psychedelics, DMT might be the most visionary one. I have many reasons for this declaration: DMT is produced by the body; it is found in hundreds of different plants and animals all over the planet; its tryptamine structure is woven into numerous important psychedelics (psilocybin/psilocin, LSD, ibogaine, the ß-carbolines, etc.); and it is one of the most purifying and curing of the psychedelics. It is also very close in structure to serotonin, possibly the most important nerve impulse facilitator. This is not to say that mescaline, LSD, psilocybin, et al., are not important; it just strikes me that DMT is the touchstone of the psychedelics. The body and consciousness recognize DMT and work with it almost instantaneously. The visions it produces are here and gone in a matter of minutes by clock time, but by our existential clock, time has been transformed—by the concentrated and incredible fullness of the experience—into eons. All this and only 15 minutes have passed? Wow!

We create our reality. We are all individually responsible to ourselves for the reality we create, whether we are miserable or joyous, this is our choice—our design. We are not alone; we exist as an integral part of all life, breathing, pulsating, vibrating, giving off plant food, absorbing animal food, in a multi-level fabric of incredibly beautiful designs and patterns. This is what DMT shows us—those patterns, as much as we can absorb at one time—to realign us to the sacred design of which we are a part. DMT works with the energy that surrounds and enters you. If you are an artist, you are likely to see an array of color and design that will fascinate and delight you. If you are a psychiatrist, you may interpret what is happening according to the psychological fashions or, perhaps, as a model of psychosis. Demons, doctors, elves, guardians, magicians, guides and Gods are the manner in which we sometimes manifest this paradigm- revealing substance. Is it we who are choosing the manifestation, or the DMT? Where do these creatures come from? Why do we see them? To what good effect can we put these visions? These are a few of the questions that I needed to answer for myself during the 40 years in which I made and used DMT. From the first time I made it and took it, I knew I had discovered something so deep, so magnificent, so profound, that it blew away everything I had ever experienced before. Period.

READ MORE: http://www.serendipity.li/dmt/weebit2.pdf

The Spice Expands Consciousness

By: Queen-of-Fables

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DMT TRIP ACCOUNTS @ Tribe.net

A compilation of detailed DMT trip report's. There are currently 313 individual reports. A great source of written documentation. READ HERE:

Excerpt: "Next everything in my surrounding vision started to vibrate with life and energy. Then suddenly, it was if a flash had gone of in my head, and I left my body. Now I was in a very different place. I could still see the room, but now I was looking at it from a different dimension. I remember thinking to myself, “This is how things really are”. The DMT dimension is not any more or less real than our ‘normal’ world. It is simply different.

MIMOSA HOSTILIS

by: Queen-of-Fables

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THE SPICE IS VITAL TO SPACE TRAVEL by: Queen-of-Fables

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The DMT molecule is shown on the side of the hovercraft/spaceship as the rider is strapped in with his pine cone (pineal gland/3rd eye) helmet on. He looks a bit suprised, probably wasn't expecting this!!

by: Eyeball32000

Visit Eyeball32000's DeviantART Gallery

by: Dennis Konstantin

http://www.denniskonstantin.com/
Visit Dennis Konstantin's deviantART Gallery

Some Thoughts on DMT Art
By Steve Beyer • Aug 22nd, 2008 • Category: Creativity

A number of artists have attempted to render the striking visual experiences that occur after ingesting ayahuasca or DMT. In the Upper Amazon, there are both indigenous artists, whose traditional work consists largely of abstract patterns, such as those found on the now well-known pottery, clothing, and other household goods of the Shipibo; and visionary artists, mostly mestizo, whose work is characterized by detailed representations of spirits, trees, animals, objects, and participants in ayahuasca healing ceremonies. These latter works fall almost paradigmatically within what has now come to be called outsider art, sometimes naïve art, and sometimes visionary art — direct, intense, content-laden, narrative, enormously detailed, personal, idiosyncratic, two-dimensional, and brightly colored. While indigenous artists work for the most part in anonymity, their work stigmatized as craft rather than art, the work of mestizo visionary artists has become much better known, largely through the publication, fully annotated and sumptuously reproduced, of the visionary paintings of former shaman Pablo César Amaringo.

Outside the Amazon, artists not born into or raised in indigenous or mestizo ayahuasca-using cultures, including such well-known visionary artists as Alex Grey, Robert Venosa, and Martina Hoffmann, have also rendered visual experiences attributed to the ingestion of ayahuasca or DMT. For want of a better term, I will call this body of work DMT art.

There are some remarkable convergences between DMT art and the abstract representations of the ayahuasca experience in indigenous Amazonian art. The indigenous work on the left, below, by Cashinahua artist Arlindo Daureano Estevão, represents the different worlds of the ayahuasca vision as houses with doors to be entered and paths linking the different contained spaces. This type of design is called nawan kene pua, or stranger’s design, since it is a map that keeps one from getting lost in the ayahuasca world. This abstract representation is strikingly reflected in the work on the right, below, entitled DMT, by photographer Peter Kosinski. It is difficult to say whether such convergences are due to acquaintance with indigenous art or to similarities in the visionary experience.

Arlindo Daureano Estevão, Nawan Kene Pua	Peter Kosinski, DMT

Similarly, on the left below is a traditional Shipibo woven cloth, whose design represents a sacred pattern derived from a cosmic anaconda whose skin embodies all possible designs. Shipibo shamans employ these patterns to reorder the bodies of persons who are sick. Certain diseases are thought to be caused by harmful, messy designs on the wsick body, which the shaman must magically unravel and replace with orderly designs. After drinking ayahuasca, the Shipibo shaman sees a luminous design in the air. When this design floats down and touches the shaman’s lips it becomes transformed into a song the shaman sings. Different elements of the song relate to different elements of the design; for example, the end of each verse is associated with the end-curl of a design motif. When the patient is cured, the design has become clear, neat, and complete. Again, this abstract representation is strikingly reflected in Vibrata Chromodoris’s Emergence, below on the right.

Anonymous, Shipibo Woven Cloth	Vibrata Chromodoris, Emergence

However, most DMT art is representational rather than abstract, and taps into the work of mestizo Amazon visionary artists. The first painting below is by mestizo artist Pablo Amaringo; the remaining pieces are DMT art by artists from outside the Amazon, all working with content recognizably similar to that of Amaringo, although not necessarily in the same naïve outsider style.

Pablo Amaringo, Ayahuasca and Chacruna (Detail)	Robert Venosa, Ayahuasca Dream (Detail)
Cyril Lanier, Ayahuasca Vision of the Blue Perfume	Michael Jacobs, Ayahuasca Dream

But even more striking, I think, are two motifs that appear with some frequency in DMT art but not in the indigenous or mestizo artistic traditions. The first of these I will call The Face — that is, a recognizably humanoid face with eyes, a nose, and a mouth, often filling the entire frame, and often constructed from smaller units, either geometric figures or dots. These figures are often described as a being, an entity, or a visitation. For example, Robert Essig says of his painting DMT Entity, below on the right, “This image was inspired from my first unnatural encounter with the spirit molecule. An Entity that seemed extremely real and intelligent appeared before me with terrific precision and speed. It dissipated as soon as I imposed my will upon it.”

Alex Grey, Ayahuasca Visitation	Robert Essig, DMT Entity

Indeed, The Face often appears in works that are not conceptually about The Face. In Luke Brown’s Pineal Feline, for example, below on the right, the titular face is that of a cat, at the bottom center of the painting; what then makes up The Face are floral arabesques and ornamentation of the cat’s face, almost entirely buried within — indeed, reduced almost to a decorative adornment of — The Face. Similarly, in Martina Hoffman’s La Chacruna, below on the left, The Face decomposes, upon closer inspection, into arabesques, including snakes and elephant heads, elaborated upon the relatively small face of the goddess, in the upper middle of the painting.

Martina Hoffmann, La Chacruna	Luke Brown, Pineal Feline

Sometimes The Face is deconstructed to simpler, rather than more complex, elements. At that point, we can begin to see the basic patterns from which complex Faces are constructed.

Dennis Konstantin, DMT Entity	Nisvan, Ayahuasca Vision (Detail)

What is interesting here is that underlying The Face is a relatively simple symmetric pattern, not unlike the abstract patterns of indigenous Amazonian ayahuasca art, but here cognitively assembled into a recognizable human face. Perhaps that is why Essig’s Face dissipated as soon as he imposed his will upon it; attempting to control the image distracted the perceiver from its imposed structural coherence.

Another recurring motif we can call the wingspread. This is a pattern very similar to the wings of a moth or dragonfly. Below, for example, is a more or less typical moth — actually, the tobacco hornworm moth (Maduca sexta):

Wingspread Moth

We can see this wingspread motif reproduced with increasing elaboration in the following pictures:

Strikingly, this wingspread pattern is often hidden rather than explicit, providing a formal structure rather than any content; look, for example, at the wingspread position of the hands in Alex Grey’s Light Weaver, especially in conjunction with, say, Robert Venosa’s Yagé Guide, above. The wingspread pattern underlies the purely formal similarity between Mariela de la Paz’s Ayahuaska at the Gates of San Pedro and Alejandre Segrégio’s Presente Divino. Indeed, sometimes this structure is so deeply embedded as to be difficult to discern, until the pattern suddenly emerges, as with the darker rock formation in Olga Spiegel’s Rendezvous.